Review: FOUR ASSASSINS (2012; available on Netflix Streaming)

The first person I ever met who extolled the joys of Asian filmmaking -- wayyyy back in the late-1970's -- was my college friend Stanley J. Orzel. He was a senior member of the University Union Cinema Board, worked as a projectionist (often running foreign films for various campus groups), and adored Hong Kong cinema, long before anyone in the US paid attention to anything more than imported chopsocky. Well, after years of racking up creative consulting gigs on films such as HERO, HOUSE OF FLYING DAGGERS and FEARLESS, Stanley J. Orzel makes his writing-directing feature debut with FOUR ASSASSINS, a deceptively simple Hong Kong chamber piece, primarily set in one spacious hotel room and centered around a quartet of professional assassins.

It's late evening in Hong Kong, with top hitman Marcus (Will Yun Lee) in an hotel suite -- alone, but not for long -- with three more killers soon making it a foursome. Ex-girlfriend Cordelia (Mercedes Renard) unexpectedly shows up, accompanied by jittery British prettyboy Chase (Oliver Williams), as well as their superior Eli (Miguel Ferrer), a mentor to both Marcus and Cordelia since they were teens. Eli is pissed at Marcus is in seriously hot water over a Singapore job snafu where one of his targets went missing, and the top bosses want this problem "resolved" (i.e. Marcus' death); but first, they all share a sumptuous room service meal, recall old times (complete with flashbacks to past assignments -- an attack on Eli and his ultimate revenge, an absurd attempt to run over a target with a compact car), as well as Cordelia and Marcus thrashing out old issues. As Marcus' time runs out. the characters' still-raw personal losses are exposed, games are played, and the truth behind Marcus' potentially-deadly plight is divulged. Meanwhile, Chase simply acts like a dick. 

Originally entitled FAR AWAY EYES, that was probably a better fit for this type of introspective piece, instead of saddling it with a generic moniker (not to mention, a poster with handguns pointing in every direction) that promises balls-out B-movie action. Orzel instead delivers a stylishly-shot, slow-burn character study, punctuated with bursts of gunplay and bloodshed. Lee (currently co-starring in THE WOLVERINE) gives the story a beautifully melancholy foundation, while Ferrer plays a more nuanced version of the authoritative shitheads that's become his specialty -- but also has an opportunity to do some of his best acting in years. The rest of the cast is regrettably hit-and-miss though. Renard is pretty yet generic, and supposedly-ruthless Williams ends up unrelentingly hammy (quick, someone get him a Steven Seagal movie, stat!). By focusing on these damaged, destructive characters and their past ties, Orzel manages to build suspense and intrigue even when his leads merely sit around this palatial suite, gabbing to each other, with moments of unexpected humor also weaved throughout, as well as savvy use of the 1940's tune "Enjoy Yourself (It's Later Than You Think)." It's a gorgeously lensed, uniquely structured debut. Meanwhile, Orzel has already completed his second feature -- the romantic drama LOST FOR WORDS, starring Grace Huang, Sean Faris and Will Yun Lee -- which is now playing the film festival circuit.

Recent Netflix Views:

Mongol

I'll admit to being easily drawn into historical epics and revisionist westerns, Mongol bridges both in it's approach to biographical/historic material. A bio-pic about Genghis Khan, from birth to height of adulthood. This Khazic co-production was directed by Russian born Sergei Bodrov with glorious, sweeping cinematography befitting of the subject matter. Nominated for best foreign film in 2008 it lost to German period piece The Counterfeiter. Tadanobu Asano stars as Temudjin (pre-Genghis) hereditary Kahn who's family was over thrown, and the young chief-to-be thrown into a life of slavery, escape and struggle before coming into his own. Throughout he is driven by the love of his life Borte played by newcomer Khulan Chuluun, who bears the children of other men, bargains with hostiles and always keeps the home fires burning for her husband, and more, the man she believes will change Mongol forever. As always Tadanobu Asano delivers a strong performance, but it is Chuluun who stands out in this stellar cast. In the wake of post-Soviet hits Nochnoi Dozer and Dnevnoy Dozer, the industry seems to be blossoming, at top speed no less, with big budget, FX savvy films, and I hope very much to see more of the same. I waited a while to get my mitts on Mongol and I was not disappointed.

(fancy image courtesy of the official movie site: http://www.mongolmovie.com/)

More fun with Netflix:

(Image courtesy of Magnolia Pictures)

A Dark character study starring Brian Cox, Red will stay with you after the credits roll. Cox stars in this smaller, quieter, more unsettling Valley of Elah-esq tale of a single man trying to find truth and justice in the ugly face of the modern world. When three teenagers find "old timer" Ludlow (Cox) out fishing with his dog Red they attempt to rob him. When he doesn't present himself an apt victim, they shoot his dog in cold blood. Ludlow does some footwork and locates the boys' families, confronting them first( with poor results) before turning to legal action. When the police fail to come through and a news special on Ludlow by a sympathetic reporter exacerbates the situation, he finds himself having to go to even greater lengths to get retribution. But each attempt by Ludlow for justice is returned in spades by the boys and their sadistic father in increasingly violent ways. However, Ludlow has a dark past himself, driving him to make sense of the situation and find satisfaction, even at a great cost. Brian Cox is the entire film, the supporting cast, as competent as they are. are just that -- supporting. In this case that is a good thing. Cox's movements and expressions, even when there is no dialogue to be had (often in this quite, brooding script) emotes and manipulates the audience. I've been awed by Brian Cox since Man Hunter (in my head he will always be the only Hannibal Lector) and am pleased to see him take the lead. Underrated and overlooked, this is a stunning, unforgettable independent film, showcasing both the skills of the star and the continued growth of auteur Lucky McKee. Standouts Kim Dickens (Deadwood) is memorable in her limited screen time and Kyle Gallner (Veronica Mars) is still playing a teenager, but developing into quite a character actor.

Documentary Derby!

For those of you who haven't heard me bitch about the endless pains of writing and drawing a graphic novel or been privy to my Sudden Death Overtime page counts, I would like to point out that one cure for the boredom of filling in large areas of negative space with black ink is a well-made documentary film. Lucky for me there are a number of them out there and readily available via cable TV and Netflix. SHOCK CINEMA has always included documentary film in its review sections, so in that spirit here's what's been on the menu for the past summer months and what I think of them:

First up is Kevin Booth's AMERICAN DRUG WAR -- now while I prefer the filmmaker to be as impartial as possible while dealing with controversial subject matter, I do think this pro-decriminalzation flick presents the issues well. The prime point of interest though is some great footage -- both archive and original -- of the state of drug use in the USA, past government action, good interviews with both pro and con subjects, and an amusing comparison between Los Angeles and Amsterdam. Ex-FEAR FACTOR host Joe Rogan makes an appearance more to support the cause then to offer any useful insight, but it's still nice to see him on screen. For the record, I am NOT a recreational drug user, having learned in my early teens that pot makes me dizzy and prone to vomiting, a reaction I also seem to have to Vicodin...

Amir Bar Lev's MY KID COULD PAINT THAT is based on the controversy presented by 60 MINUTES over whether or not a four-year-old child had created the abstract paintings her parents were selling for thousands of dollars through galleries across the country. In this case, while the filmmaker does make clear that his own feelings about the art changed in the course of filming, the tone is fairly impartial and presents both the views of the family and their retractors. A lot of the details of the story may go over your head or seem pointless if you do not have a background in the arts or if you lack interest in the fine art industry, but for me, especially the visual comparisons of the "real" paintings done on camera by diminutive Marla Ormstead and other works-in-question were all the evidence necessary, no other commentary needed. The best comment in the film comes from photo-realistic painter/gallery owner Anthony Brunelli, who stated that he arranged the girl's first show in order to say something about abstract art and the mess that followed illustrates his point well.

Eric Steel's THE BRIDGE is by far the most depressing documentary I've sat through in a long time, but at the same time absolutely engrossing. Filmed over the course of a year, and covering a fair slice of the twenty four people who plummeted to their deaths in 2004, he delves into the history of the Golden Gate bridge and the morbid fascination people seem to have with it. An overwhelming amount of the subjects investigated in this film seem to have had some form of mental illness and sometimes a history of suicide, but that does not lessen or prepare the viewer for the shocking footage of jumpers. Likewise interesting is the almost oblivious attitude of tourists and locals on the bridge (as exhibited by a photographer-cum-lifesaver who realized at the last moment the stranger he was snapping pics of was about to jump -- until he dragged her back over the railing). Beautifully shot, this original chronicle of a historically significant landmark and its grim allure stays with you long after the credits roll.

SURFWISE is the story of an idealistic man who decided to drop out of conventional society and surf for the rest of his life instead. The conflict comes into play when you see how he relentlessly dragged his family along with him and expected them to share his alternative lifestyle. Nine children and two adults in a trailer, touring the land for the best surfing available is exactly as claustrophobic as it sounds, and the array of offspring bear the scars from it. While it's hard not to respect the man who brought surf culture to Israel and stuck so firmly with his dream, it is hard to believe he did the right thing. Jonathan Paskowitz and his family present themselves honestly and forthright, warts and angel wings, in this beautifully shot film by director Doug Pray. Excellent surfing footage both vintage and present day tops off the biography sections and kept me glued to the screen.

Because I will happily watch surfing or skateboarding in almost any form, I also sat down with BRA BOYS recently. While it does cover a good deal of the history of working-class surf-culture in Australia, the heart of the story is a self-defense shooting and the inevitable release from jail of pro surfer Koby Abberton (younger brother of the director Sunny). Because of the family investment, the narrative breaks down part way into unnecessary, heavyhanded pathos that take the viewer out of the experience of the film overall. However, that aside, it is an excellent overview of a pop culture phenomenon, and a statement about "localism" and the attempts by the government to prevent it from taking hold. Loaded with breathtaking surf footage, shocking candid videography of fights, parties and family reunions, I turned off the DVD player with a mixed bag of feelings for these fierce, if misguided punks. While the film ends with a statement of unity among surfers of many ethnic backgrounds, it is hard not to notice the lack of female surfers, or even any woman of importance or gravity in the lives of these men save their grandmother who housed them and encouraged them into careers as pro-surfers. Watching this, it's clear how Australia could produce disturbing social commentary like ROMPER STOMPER and BLUE MURDER. As an added plus, the soundtrack features an exciting array of local bands including several stunning tracks by The Camels. Russell Crowe narrates.

Last but not least, I happened upon BURDEN OF DREAMS: THE MAKING OF FITZCARRALDO on IFC the other day. While I've seen it before, and likewise seen the 1982 film it is about, it never fails to strike me just how much people suffer for their vision, suffer for the vision of someone else, and how dedicated people can be in the face of bodily harm and discomfort. Werner Herzog's reputation as an auteur and a madman is well presented and shot with exacting and heartbreaking cinematography. Not to mention that there's nothing like seeing the crew drinking hard liquor on set while patching up each other's wounds. While I do think it is vital to see FITZCARALDO first for the full impact and irony of the events of it's filming, Les Blank's BURDEN OF DREAMS stands alone as a testament to art.


Note: Many of these films have incredibly annoying Flash sites, but I offer you the links anyway: www.americandrugwar.com/
www.sonyclassics.com/mykidcouldpaintthat/main.html
www.thebridge-themovie.com/
http://www.surfwisefilm.com/

More adventures with Netflix

There was a time when renting wild import DVDs just didn't happen (unless you lived near Kim's Video or TLA rentals in NYC,and even then...) but now all sorts of neat releases pop up on Netflix, and while it takes me a while to work through them, some are worth pointing out. Here is one such example:

Wool 100% (Cinema Epoch)is a nice bit surrealist cinema, it's unorthodox approach is on display right from the opening credits. It tells the story of two elderly spinsters who live in a house covered by junk they have collected over the years. One day on a garpage picking outing they find a basket of rough, red wool and take it back to their Collier Brothers-esque lair. In the night it attracts a naked young woman who uses it to knit a really ugly sweater, she then collapses in despair screaming that she'll have to knit it all over again, leaving the sisters to cope with this unlikely chaos in their previously controlled and ordered world.

The junk especially is treated with great love and detail by the director. The sisters pour over garbage left on the street like jewelers over diamonds. They carefully catalogue all their finds in sketchbooks, complete with detailed drawings. The sisters themselves are artfully constructed. They dress in early Showa period fashion (1930's) one in western style the other in Japanese, their silver bob hair doos giving them the look of advertising art from the era. As a matter of fact, themselves, their house, their collections are so lovingly cultivated that it is almost heartbreaking to watch the knit obsessed little savage break it all up.

Gorgeously shot, edited and designed, Mai Tominga's fantasy is reminiscent of Jeunet and Caro's Delicatessen and City of Lost Children without being derivative. A good companion film to Nobuhiko Obayashi's (not released in the US) Hausu or underrated Higuchinsky's Uzumaki. Fantastic.

Yes, you can rent these titles!

Available on Domestic DVD and still worth watching!

Along with the hundreds of import discs and out of print rarities we sift through week to week, we are also hard core Netflix users, turning around disc after disc, we consume movies! And believe it or not, there are some completely accessible releases that the casual viewer may have missed.

Rampo Noir is a dark string of related vignettes, based on the short stories of Edogaro Rampo. Really savvy anime fans (if such a thing exists) may have caught Rampo homages in the background of the Recent Rozen Maiden tv series. Anyway, Tadanobu Asano tops a cast of excellent actors, the creepy unsettling situations are well photographed and the director takes great pleasure in making very ugly images painfully beautiful. From start to finish, this is horror-gone-art-film worthy of early Cronenberg and Kiyoshi Kirosawa.

Staying in Japan but moving away from fiction, Perfect Fake, a Canadian documentary tackles artificial sexuality in the form of sex dolls, interactive media and... Araki Gentaro's toy sculptures? OK. Well done and informative if a little unsettling.

Princess Raccoon is classical Japanese Opera meets modern story telling. Surreal, beautiful and sometimes stupid but worth watching. Makes better use of Ziyi Zang then Memoirs of a Geisha did for damn sure.

Empire of the Wolves is your pretty basic French Crime yarn with Jean Reno doing what he does best. Works well with the Crimson Rivers films, but not directly related. And no, I will not watch "just anything" because Jean Reno is a cool action hero. I made it through about fifteen minuets of The Corsican Files before I gave up. The allure of French Comedy continues to elude me...

In the mean time I'm still waiting for the entire Alex De La Iglesia collection to be released stateside (I would so like to watch Day of the Beast again...). Or for Attack the Gas Station to slip in with the tidlewave of mediocre Korean cinema available on DVD. I'm tired of telling people about it then remembering the only available version for rental is dubbed into Mandarin and subbed in English-- still unacceptable to purists like myself. However Danger Diabolik came out remastered, and if you've only seen it on a crappy VHS, go, go go put it in your rental queue!

More imports and animation when I return...